The price for love...
CARRIE (1952)
Carrie, begins her journey for a flourishing, independent life in a booming Chicago, where she struggles to make ends meet until she meets a welcoming Charles Drouet. Drouet, clearly infatuated with her, attempts to help and support her until she meets George Hurstwood, manager at a local prestigious restaurant. George and Carrie fall in love and escape their past lives in an attempt to live out the life that only they can make for themselves. But at what cost?
I’d never heard of the film Carrie until I saw Imprint’s new announcements for January, and as usual, I researched each new release and tried to decide on what ones I’d want to get my hands on.
Carrie was the must-have for me. Not only did it interest me with the exciting tag ‘A William Wyler Production’, a director I’m somewhat of a fan of, especially with his fantastic film The Collector (1965), Carrie boasts another tag on its front cover. Laurence Olivier, an actor I have not taken the time to properly delve into when it comes to his work, thus this was the perfect excuse to.
From what I’ve read up on, the film never really received a respectable release and was practically shelved for over a year by paramount possibly due to some worries with some of the dark themes portrayed in the movie.
And though I completely disagree with that decision, the huge capitalist movement in America was full steam ahead at this point in time, and any film appealing for an argument or a critique was a risk to Hollywood and the studios that suckle on its nipple.
Tackling the cold hard truth of poverty, the cost of adultery and the feeling of descent into despair, Carrie is everything I didn’t know it could be. The film’s first act feels slow, somewhat hopeful and melancholic, almost frustrating you to the point of seeing where the plot may take you, until it does take you. It takes you somewhere dark, depressing and hopeless.
To refrain from any large spoilers, the lengths that Wyler takes with his directing and filmmaking decisions to hit you in the gut every few minutes through the second and third acts is commendable and insanely ballsy due to how the current climate was in Hollywood at the time.
Based on the original novel ‘Sister Carrie’, written by Theodore Dreiser, a fair amount of the source material and themes are expertly adapted into the screenplay by Augustus and Ruth Goetz, whilst also adding a few extra scenes, and even taking a few things away.
As I’ve stated above, from my perspective of being very unknowing and ignorant to Lawrence Olivier, for this to basically be my first true experience to his talents, this was an acting masterclass. Each moment, as this man, this character George Hurstwood, descends into a place far from his comfort zone is portrayed perfectly through Olivier’s sheer brilliance as a performer. At first he feels almost as like a side character to the obviously suggested main character Carrie, played by Jennifer Jones, but as the plot thickens and the story progresses, the focus gradually shifts over to Olivier.
Basically every key acting performance in this film was at the very least impressive. Eddie Albert as the always smiling, overly generous salesman Charles Drouet. Ray Teal’s five minutes of pure acting rampage as the smirking, wise ass Bondsman. And most of all, Miriam Hopkins and her terrific execution as Julie Hurstwood, a cold hearted, threatening wife to George Hurstwood.
Wyler has always had a knack for directing photography, and it’s one reason why he’s regarded as one of the greatest directors to ever live. Though most shots in this film are still and looming, to let the characters bounce off one another with expertly written dialogue, certain shots stand out further into the film. A panning shot of Olivier aimlessly running down an empty Chicago residential street makes you feel anxiety and panic, just as what the character is also feeling. And quite possibly my favourite shot in the film, being the slow crane shot inside a poverty infested hostel, to slowly reveal the fate of a certain character.
There’s really not much else I can honestly say on this film without spoiling it. Usually with a review I’ll just aimlessly spit garbage without any boundaries on spoilers, but this film is a must watch and an excellent example to the talents of Wylder and the actors he chooses to work with and elevate into his art. I cannot wait to watch another Wylder film, and this movie has jump started my deep dive into Olivier. I’ll see you in Bunny Lake is Missing Lawrence!
SPECIFICATIONS
Directed by: William Wyler
Starring: Laurence Olivier, Jennifer Jones, Miriam Hopkins and Eddie Albert.
1952 / 121 min / 1.33:1 / English LPCM 2.0 Mono
No. of discs: 1
Region: ALL
Format: 1080P
Color: BLACK & WHITE
Languages: English
Subtitles: English
Release Date: 22nd of February 2023
Additional Info:
Special Features and Technical Specs:
- 1080p High-definition presentation on Blu-ray
- NEW Audio commentary by professor/film scholar Jason A. Ney
- NEW Neil Sinyard on Carrie – interview with the author of A Wonderful Heart: The Films of William Wyler
- Theatrical Trailer
- Aspect Ratio 1.33:1
- Audio English LPCM 2.0 Mono
- Optional English subtitles
- Limited Edition slipcase on the first 1500 copies with unique artwork
SPECIAL FEATURES
I’m terms of packaging, it’s the usual side loading Imprint Films limited edition slipcover. Clean, with sleek graphic design, and the best part? No ugly ass Australian ratings stamps. The outer slip cover includes one of the original paramount posters, and on the cover of the inner clear case is an alternate poster.
Special features are slim, but Imprint’s impressive track record to include a commentary track with almost every release is incredibly commendable. Audio commentary’s are hard work, extensive and loaded with content. That being said, the new and only audio commentary on this disc by professor and film scholar Jason A. Ney is all of that!
As for the new special feature ‘Neil Sinyard on Carrie’, an interview with the author of A Wonderful Heart: The Films of William Wyler, I was very much invested. This short and sweet discussion is fantastic and informative in more ways than one. From Sinyard discussing studio troubles with the film, Wyler’s small venture into war, and further more Olivier and Wyler’s relationship and their ups and downs. If you grab the disc it’s a must watch and I’ll be keeping an eye out on any future special features containing Neil.
ADDITIONAL IMPRINT FILMS INFORMATION
WILLIAM WYLER’S CLASSIC ADAPTATION OF THEODORE DREISER’S “SISTER CARRIE”
Carrie is the story of a woman whose dreams of adventure in the big city are squashed after discovering a bleak life of gruelling and poorly paid factory work. That is, until a traveling salesman named Drouet steps into her life and changes her outlook. Breaking all the rules of morality at the time, Carrie moves in with him and at first, she’s content, but when Drouet introduces her to the wealthy and married Hurstwood, who manages a restaurant, Carrie instantly sizes up the difference between the two men and discovers she’s falling for him.
William Wyler’s classic adaptation of Theodore Dreiser’s “Sister Carrie” was nominated for two Oscars.
Full unedited version of the film featuring the previously removed “flophouse” scene which was omitted for the original release in the US theatres.
Starring Laurence Olivier, Jennifer Jones, Miriam Hopkins and Eddie Albert.
Worldwide first on Blu-ray!
You can order the Blu-Ray via the link below; Otherwise, a standard edition is scheduled for release sometime in the future;
https://viavision.com.au/shop/ladies-and-gentlemen-the-fabulous-stains-1982-imprint-collection-189/
Reviewed and edited by Joel Brady